DOCSLIB.ORG

Traces of the (Un)Familiar : Family, Identity, and the Return of the Repressed in the Photographs of Ralph Eugene Meatyard

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Traces of the (Un)Familiar : Family, Identity, and the Return of the Repressed in the Photographs of Ralph Eugene Meatyard University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 8-2017 Traces of the (un)familiar : family, identity, and the return of the repressed in the photographs of Ralph Eugene Meatyard. Hunter Martin Kissel University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Modern Art and Architecture Commons, and the Photography Commons Recommended Citation Kissel, Hunter Martin, "Traces of the (un)familiar : family, identity, and the return of the repressed in the photographs of Ralph Eugene Meatyard." (2017). Electronic Theses and Dissertations. Paper 2807. https://doi.org/10.18297/etd/2807 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. TRACES OF THE (UN)FAMILIAR: FAMILY, IDENTITY, AND THE RETURN OF THE REPRESSED IN THE PHOTOGRAPHS OF RALPH EUGENE MEATYARD By Hunter Martin Kissel B.A, Transylvania University, 2014 A Thesis Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Art(C) and Art History, Critical and Curatorial Studies Department of Fine Arts University of Louisville Louisville, Kentucky August 2017 Copyright 2017 by Hunter Martin Kissel All rights reserved TRACES OF THE (UN)FAMILIAR: FAMILY, IDENTITY, AND THE RETURN OF THE REPRESSED IN THE PHOTOGRAPHS OF RALPH EUGENE MEATYARD By Hunter Martin Kissel B.A., Transylvania University, 2017 A Thesis Approved on July 27, 2017 By the following Thesis Committee _______________________________________ Dr. Chris Reitz Thesis Director _______________________________________ Dr. Jongwoo Jeremy Kim Second Committee Member _______________________________________ Brian Sholis Third Committee Member ii DEDICATION To Dorothy May Kissel and Betty Ann Corrigan iii ACKNOWLEDGMENTS This project would be substantially lacking if not for the guidance of Dr. Jongwoo Jeremy Kim and Dr. Chris Reitz. I am immeasurably grateful for their encouragement and criticism offered throughout the duration of this project. They have both heavily shaped my abilities as a writer, critical thinker, and individual. I would also like to extend thanks to Brian Sholis for his contributions as committee member and for our relevant conversations, for sharing research materials with me, and for demonstrating curatorial and scholarly expertise. My educational pursuits would not have been possible without the support from the Hite Art Institute at the University of Louisville and the Elizabeth P. and Fredrick K. Cressman Scholarship award. The Hite has provided me with invaluable learning resources, a solid professional network, and opportunities to contribute to the vibrant arts community in Louisville that I would not have had otherwise. I am also indebted to multiple individuals who, through interviews and archival inquires, expanded my knowledge of Meatyard and photography. Christopher Meatyard has been extremely generous during each stage of this project. He expanded my familiarity with the more nuanced qualities of Meatyard’s life and practice as well as certain unpublished photographs by his father. I would also like to thank Elizabeth Reilly at the University of Louisville Photographic Archives, Bebe Lovejoy at the Art Museum at the University of Kentucky, Cynthia Young at the International Center of Photography, iv Dr. Susan Jarosi at the University of Louisville, as well as C.J. Pressma and Peter Morrin for their insight about Meatyard. Lastly, I thank my parents, Joni and Bernie, and Colin for their unwavering love, encouragement, and continuous belief in me, and Dani for being a pillar of support and an extra set of eyes whenever I needed them. Without them, this endeavor would not have been possible. v ABSTRACT TRACES OF THE (UN)FAMILIAR: FAMILY, IDENTITY, AND THE RETURN OF THE REPRESSED IN THE PHOTOGRAPHS OF RALPH EUGENE MEATYARD Hunter Martin Kissel July 27, 2017 This thesis explores the ways in which photographs by Ralph Eugene Meatyard provoke the uncanny—or Das unheimlich as Freud originally wrote in 1919—by breaking from conventions of mid-twentieth century family photography often utilized to establish and maintain genealogical unity. Meatyard’s photographs of his family and friends are accentuated by blurring techniques, prolonged exposures, and the incorporation of dime- store masks, and as a result depict moments when reality is disrupted by the return of repressed material from childhood. For a multitude of reasons, Meatyard’s photographs elicit comparisons to Surrealist photography as well as certain American modernists who also explored the notion of identity, such as Duane Michals, Van Deren Coke, and Minor White. Although he rarely left his home of Lexington, Kentucky, Meatyard was aware of the camera’s widespread use to produce and retain social myths. His photographs unveil these myths by incorporating elements that align with psychoanalytic theory. vi TABLE OF CONTENTS PAGE ACKNOWLEDGMENTS………………………………………………………………..iv ABSTRACT……………………………………………………………………………...vi LIST OF FIGURES……………………………………………………………………...vii INTRODUCTION………………………………………………………………………...1 BREAKING FAMILY PHOTOGRAPHY………………………………………………..5 PURSUING THE UNCANNY…………………………………………………………..33 REFLECTIVE AND FRAGMENTED: MEATYARD AND THE INSTABILITY OF IDENTITY……………………………………………………………………………….69 CONCLUSION…………………………………………………………………………105 REFERENCES…………………………………………………………………………112 CURRICULUM VITAE………………………………………………………………..118 vii LIST OF FIGURES FIGURE PAGE 1. Bingham (Paris), Portrait of a standing man, c. 1865, Collection of Geoffrey Batchen…………………………………………………………………………………..10 2. Wallace Studio (Louisville, KY), Photograph of seven siblings, 1964, Collection of the author…………………………………………………………………………………….12 3. Ralph Eugene Meatyard, Untitled (Woman and child framing parallelogram window), 7 c. 1970-2, gelatin silver print, 6 ¾ x 6 /8”. Copyright Estate of Ralph Eugene Meatyard…………………………………………………………………………………15 4. Ralph Eugene Meatyard, Lucybelle Crater and Her 40 Yr Old Husband Lucybelle 7 Crater, c. 1969-71, gelatin silver print, 7 /16 x 7 1/2”. Copyright Estate of Ralph Eugene Meatyard…………………………………………………………………………………23 5. Ralph Eugene Meatyard, Lucybelle Crater & 20 Yr Old Son’s Legless Wife Lucybelle 7 Crater, c. 1969-72, gelatin silver print, 7 /16 x 7 ½”. Copyright Estate of Ralph Eugene Meatyard…………………………………………………………………………………27 6. Ralph Eugene Meatyard, Lucybelle Crater & 15 Yr Old Son Lucybelle Crater, c. 1970, 3 5 gelatin silver print, 7 /8 x 7 /8”. Copyright Estate of Ralph Eugene Meatyard…………28 3 7. Ralph Eugene Meatyard, Chapter Pain #6, c. 1960, gelatin silver print, 7 /8 x 5 7 /8”. Courtesy University of Louisville Photographic Archives. Copyright Estate of Ralph Eugene Meatyard………………………………………………………………….38 8. Ralph Eugene Meatyard, Occasion for Diriment (Young girl and masked boy beating his breast), 1962, gelatin silver print, 7 x 7 ½”. Copyright Estate of Ralph Eugene Meatyard…………………………………………………………………………………40 9. Ralph Eugene Meatyard, Untitled (Group of children with dolls and masks), 1963, 5 gelatin silver print, 7 /16 x 8 ¼”. Collection of Jonathan Greene. Copyright Estate of Ralph Eugene Meatyard………………………………………………………………….43 10. Hans Bellmer, L’Idole, 1937. Bihl Bellmer Collection. Courtesy Editions Filipacchi- Sonodip…………………………………………………………………………………..45 viii 11. Ralph Eugene Meatyard, Untitled (Boy below white mask and broken mirror), 1962, 7 5 gelatin silver print, 7 /16 x 7 /8”. Copyright Estate of Ralph Eugene Meatyard………..50 12. Ralph Eugene Meatyard, Untitled (Boy wearing white mask below broken mirror), 7 3 1962, gelatin silver print, 7 /16 x 7 /8”. Copyright Estate of Ralph Eugene Meatyard…51 13. Ralph Eugene Meatyard, Untitled (Archway with ghost), 1966, gelatin silver print, 7 3 /8 x 7 ¼”. Copyright Estate of Ralph Eugene Meatyard………………………………...54 14. Man Ray, Explosante-fixe, 1934. Private Collection, Paris………………………….58 15. Ralph Eugene Meatyard, Untitled (Two ghosts with fireplace), 1969, gelatin silver print, 6 ¼ x 6 ¼”. Copyright Estate of Ralph Eugene Meatyard………………………...60 16. Ralph Eugene Meatyard, Untitled (Boy holding mannequin hand), 1961, gelatin silver print, 7 ½ x 7 ½”. Copyright Estate of Ralph Eugene Meatyard………………………...61 17. Maurice Tabard, Hand and Woman (Main et femme), 1929. Collection of Robert Shapazian, Fresno, California……………………………………………………………63 18. Ralph Eugene Meatyard, Untitled (Male nude in bathroom), 1970, gelatin silver print, 1 1 11 /16 x 9 /16”. Copyright Estate of Ralph Eugene Meatyard…………………………..66 19. Hans Bellmer, Doll (La Popuée), 1936/1949. Musée National d’Art Moderne, Paris………………………………………………………………………………………71 20. Ralph Eugene Meatyard, Romance (N.) from Ambrose Bierce #3 (Masked children on 1 3 numbered steps), 1962, gelatin silver print, 7 /16 x 7 /8”. Copyright Estate of Ralph Eugene Meatyard………………………………………………………………………...73 21. Ralph Eugene Meatyard, (title unknown), c. 1960, gelatin silver print. Copyright Estate of Ralph Eugene Meatyard………………………………………………………..75 22. Duane Michals, Now Becoming Then, gelatin silver print, 8 x 10”. Courtesy
Load more

Recommended publications
  • University of Groningen the Mirror Image Muda, G.E
    University of Groningen The mirror image Muda, G.E. IMPORTANT NOTE: You are advised to consult the publisher's version (publisher's PDF) if you wish to cite from it. Please check the document version below. Document Version Publisher's PDF, also known as Version of record Publication date: 2011 Link to publication in University of Groningen/UMCG research database Citation for published version (APA): Muda, G. E. (2011). The mirror image: The representation of social roles for women in novels by Charlotte Brontë, Kate Chopin, Edith Wharton and Jean Rhys. s.n. Copyright Other than for strictly personal use, it is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), unless the work is under an open content license (like Creative Commons). Take-down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Downloaded from the University of Groningen/UMCG research database (Pure): http://www.rug.nl/research/portal. For technical reasons the number of authors shown on this cover page is limited to 10 maximum. Download date: 26-09-2021 G.E. MUDA The Mirror Image THE MIRROR IMAGE Front cover illustration: Albert Roelofs, Toekomstdromen, [Future Dreams], 1906 Cover Design: Dr. J. B. Hemel Printed by: GrafiMedia, Groningen ISBN: 978-90-367-4648-9 (printed version) ISBN: 978-90-367-4647-2 (electronic version) Copyright: G.E. Muda (2011) Niets uit deze uitgave mag worden vermenigvuldigd zonder schriftelijke toestemming van de auteur.
    [Show full text]
  • Each Wild Idea: Writing, Photography, History
    e “Unruly, energetic, unmastered. Also erudite, engaged and rigorous. Batchen’s essays have arrived at exactly the e a c h w i l d i d e a right moment, when we need their skepticism and imagination to clarify the blurry visual thinking of our con- a writing photography history temporary cultures.” geoffrey batchen c —Ross Gibson, Creative Director, Australian Centre for the Moving Image h In Each Wild Idea, Geoffrey Batchen explores widely ranging “In this remarkable book, Geoffrey Batchen picks up some of the threads of modernity entangled and ruptured aspects of photography, from the timing of photography’s by the impact of digitization and weaves a compelling new tapestry. Blending conceptual originality, critical invention to the various implications of cyberculture. Along w insight and historical rigor, these essays demand the attention of all those concerned with photography in par- the way, he reflects on contemporary art photography, the role ticular and visual culture in general.” i of the vernacular in photography’s history, and the —Nicholas Mirzoeff, Art History and Comparative Studies, SUNY Stony Brook l Australianness of Australian photography. “Geoffrey Batchen is one of the few photography critics equally adept at historical investigation and philosophi- d The essays all focus on a consideration of specific pho- cal analysis. His wide-ranging essays are always insightful and rewarding.” tographs—from a humble combination of baby photos and —Mary Warner Marien, Department of Fine Arts, Syracuse University i bronzed booties to a masterwork by Alfred Stieglitz. Although d Batchen views each photograph within the context of broader “This book includes the most important essays by Geoffrey Batchen and therefore is a must-have for every schol- social and political forces, he also engages its own distinctive ar in the fields of photographic history and theory.
    [Show full text]
  • Sylvia Plath: a Split in the Mirror Susan E
    Plath Profiles 55 Sylvia Plath: A Split in the Mirror Susan E. Schwartz, Ph.D. I sit… Composed in Grecian tunic and psyche-knot, Rooted to your black look, the play turned tragic: Which such blight wrought on our bankrupt estate, What ceremony of words can patch the havoc? "Conversation Among the Ruins" (Plath, Collected Poems 21) Sylvia Plath's writing depicts the anguish of an unresolved and ambivalent attachment with her father. Her poetry, dreams and journal writings reveal the complexities of this relationship, its unconscious strands and blurred boundaries. Through the example of this poetess who killed herself at the age of thirty, I aim to show the complex interactions between daughters and fathers and the line between creativity and destruction. The death of Sylvia Plath's father when she was eight was a decisive experience shaping her life, an aspect drawing her towards death and representing the profound deprivation of this significant parental figure. She wrote in the poem, "Daddy": I was ten when they buried you. At twenty I tried to die and get back, back, back to you. (224) Sylvia Plath's words reverberate with paradox, graphically detailing extreme aspects of the distress of a daughter due to traumatic loss of her father. From the psychological destruction of this loss, she creatively wrote about its individual and collective proportions. She addresses the symptoms of our era—the media hype of women, technology and culture—all signifying spiritual, psychological and cultural lack. The passion fostering her creativity, however, is connected to a crushing father-complex affecting her attempts to transform in life which fought those forces uniting with her father in death.
    [Show full text]
  • HDR Photography When to Use It and Why You Shouldn't!
    HDR Photography When to use it and why you shouldn't! By Steve Friedman September 30, 2020 HDR Topics • Just what is HDR? • History of HDR • Technical Considerations • HDR Best Practices • HDR Examples • More HDR Examples • Beyond HDR • Sample HDR Processing, Native and Plug-in • Questions Friedman 2020-09-30 HDR Photography 2 Just What is HDR? • High Dynamic Range, or HDR, is a technique to extend the dynamic range of imagery that can be obtained from a camera. • Cameras do not see the world as good as the human eye can • Early forms of plate technology cameras – Yes, of course! • Film cameras – of course • Digital Cameras – even the best digital cameras have limitations! • HDR is any technique, process, and/or procedure which serves to extend the dynamic range of a camera to more approximate what the human eye can see. Friedman 2020-09-30 HDR Photography 3 Just What is HDR? … continued • “Put simply it is a technique to create images with a higher range of luminosity that can be created with a single standard image. • “In other words, your camera’s sensor or film can capture a specific number tones between pure white and pure black. HDR is a technique to increase that number of tones beyond what can be captured in a single natural shot. • “Generally it is thought that the aim of an HDR images is to bring the tonal range of an image close to what the human eye can see.” Source: Lightstalking https://www.lightstalking.com/story-of-hdr-photography/ Friedman 2020-09-30 HDR Photography 4 HDR has a long history • HDR began during the early ages of photography.
    [Show full text]
  • Kentucky Humanities Council Catalog 2003-2004 Kentucky Library Research Collections Western Kentucky University, [email protected]
    Western Kentucky University TopSCHOLAR® Kentucky Humanities Council Catalog Kentucky Library - Serials 2003 Kentucky Humanities Council Catalog 2003-2004 Kentucky Library Research Collections Western Kentucky University, [email protected] Follow this and additional works at: https://digitalcommons.wku.edu/ky_hum_council_cat Part of the Public History Commons, and the United States History Commons Recommended Citation Kentucky Library Research Collections, "Kentucky Humanities Council Catalog 2003-2004" (2003). Kentucky Humanities Council Catalog. Paper 5. https://digitalcommons.wku.edu/ky_hum_council_cat/5 This Magazine is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Kentucky Humanities Council Catalog by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. V - ^• ,.:»-?r: - y,• 1.' t JJ •'•^1 Ba ni'l^Tlnll iui imnmthh^ ¥ mm fa. f*i '• yi-^\ WHOLE HUMANITIES CATALOG August 1, 2003-July 31, 2004 This edition of the Whole Humanities Catalog—the eighteenth—is your comprehensive source for the Kentucky Humanities Council's unique statewide programs. What's your pleasure? Speakers who deftly combine scholarly insights with revealing anecdotes? Kentucky writers discussing their works? A fascinating figure from Kentucky's past brought backto life by our living historyprogram (thereare five newcharacters this year)? Or maybe a book discussion program? There is truly somethingherefor everyone. It is only with your generous and continuing support that weareableto enrich this catalog with morequalityprograms every year. Thank you, and enjoy! Contents Credits Speakers Bureau Featured Speakers 3 Kentucky Writers 15 More Speakers 18 Speakers BureauTravel Map 19 Kentucky Chautauqua 20 Book Discussions 26 Appiication Instructions 28 Application Forms Inside Back Cover www.kyhumanities.org You'll tliid this catalog and much more on our web site.
    [Show full text]
  • Art in the Mirror: Reflection in the Work of Rauschenberg, Richter, Graham and Smithson
    ART IN THE MIRROR: REFLECTION IN THE WORK OF RAUSCHENBERG, RICHTER, GRAHAM AND SMITHSON DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Eileen R. Doyle, M.A. ***** The Ohio State University 2004 Dissertation Committee: Approved by Professor Stephen Melville, Advisor Professor Lisa Florman ______________________________ Professor Myroslava Mudrak Advisor History of Art Graduate Program Copyright by Eileen Reilly Doyle 2004 ii ABSTRACT This dissertation considers the proliferation of mirrors and reflective materials in art since the sixties through four case studies. By analyzing the mirrored and reflective work of Robert Rauschenberg, Gerhard Richter, Dan Graham and Robert Smithson within the context of the artists' larger oeuvre and also the theoretical and self-reflective writing that surrounds each artist’s work, the relationship between the wide use of industrially-produced materials and the French theory that dominated artistic discourse for the past thirty years becomes clear. Chapter 2 examines the work of Robert Rauschenberg, noting his early interest in engaging the viewer’s body in his work—a practice that became standard with the rise of Minimalism and after. Additionally, the theoretical writing the French phenomenologist Maurice Merleau-Ponty provides insight into the link between art as a mirroring practice and a physically engaged viewer. Chapter 3 considers the questions of medium and genre as they arose in the wake of Minimalism, using the mirrors and photo-based paintings of Gerhard Richter as its focus. It also addresses the particular way that Richter weaves the motifs and concerns of traditional painting into a rhetoric of the death of painting which strongly implicates the mirror, ultimately opening up Richter’s career to a psychoanalytic reading drawing its force from Jacques Lacan’s writing on the formation of the subject.
    [Show full text]
  • Kentucky Humanities Council Catalog 2004-2005 Kentucky Library Research Collections Western Kentucky University, [email protected]
    Western Kentucky University TopSCHOLAR® Kentucky Humanities Council Catalog Kentucky Library - Serials 2004 Kentucky Humanities Council Catalog 2004-2005 Kentucky Library Research Collections Western Kentucky University, [email protected] Follow this and additional works at: https://digitalcommons.wku.edu/ky_hum_council_cat Part of the Public History Commons, and the United States History Commons Recommended Citation Kentucky Library Research Collections, "Kentucky Humanities Council Catalog 2004-2005" (2004). Kentucky Humanities Council Catalog. Paper 4. https://digitalcommons.wku.edu/ky_hum_council_cat/4 This Magazine is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Kentucky Humanities Council Catalog by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. Whole Humanities Catalog 2004-2005 Kentucky Humanities Council Inc Telling Kentucky's Story (Welt, actually, 100 Kentucky stories in this catalog, plus quite a few from other places. Book 'em while you can.) WHOLE HUMANITIES CATALOG August 1, 2004-July 31, 2005 The Whole Humanitibs Catalog, now in its nineteenth year, is a complete guide to three very popular Kentucky Humanities Council programs: Speakers Bureau, Kentucky Chautauqua, and Book Discussions. Whether it's a speaker deftly combining scholarly insights with revealing anecdotes, a Kentucky writer discussing her work, or a living his tory presenter bringing a fascinating Kentuckian back to life, these programs are unique, statewide,
    [Show full text]
  • Blanton Museum of Art / the University of Texas at Austin / MLK at Congress / Austin, TX 78712 / 512.471.7324
    This exhibition is organized by the Blanton Museum of Art in collaboration with the Harry Ransom Center. Cover: Untitled, 1960, Gelatin silver print, 7 1/4 × 8 in., Guy Davenport Collection, Harry Ransom Center © The Estate of Ralph Eugene Meatyard Notes The author is grateful for the cooperation of Christopher and Diane Meatyard, who thoughtfully responded to research queries in preparation for this essay and permitted the reproduction of these photographs. 1 Ralph Eugene Meatyard, “The Effect of Abstract Shapes,” unpublished lecture notes for a Free University interest group, University of Kentucky, [1970], Meatyard Archive, Lexington, KY. Quoted in Christopher Meatyard and Diane Meatyard, “The Photography of Ralph Eugene Meatyard,” in Caught Moments—New Viewpoints (London: Olympus Gallery, 1983), unpaginated. Meatyard is listed as coordinator of the interest group “sur-REAL PHOTOGRAPHY” in The Free University Catalog, no. 3 (January 1970), University of Kentucky Student Center Records, 7.9, University of Kentucky Special Collections. 2 Van Deren Coke, Creative Photography—1956 (Lexington: University of Kentucky in association with the Lexington Camera Club, 1956); and Minor White, “Ten Books for Creative Photographers,” Aperture 4, no. 2 (1956): 58. 3 Ralph Eugene Meatyard, interviewed by Nathalie Andrews, Louisville, KY, 25 February 1970, transcript, Oral History Center, University of Louisville Archives and Records Center, Louisville, KY. 4 James Baker Hall, “The Strange New World of Ralph Eugene Meatyard,” Popular Photography 65, no. 1 (July 1969): 120. 5 Ralph Eugene Meatyard, interviewed by Arnold Gassan, Athens, OH, 25 May 1969, audio recording M484:1, Visual Studies Workshop, Rochester, NY. 6 Meatyard, interviewed by Andrews, 1970.
    [Show full text]
  • The Total Light Process: New & Selected Poems
    University of Kentucky UKnowledge Creative Writing Arts and Humanities 2004 The Total Light Process: New & Selected Poems James Baker Hall University of Kentucky Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Hall, James Baker, "The Total Light Process: New & Selected Poems" (2004). Creative Writing. 2. https://uknowledge.uky.edu/upk_creative_writing/2 The Total Light Process Kentucky Voices Editorial Advisory Board Wendell Berry Ed McClanahan Billy C. Clark Gurney Norman James Baker Hall Mary Ann Taylor-Hall George Ella Lyon Richard Taylor Bobbie Ann Mason Frank X Walker Miss America Kissed Caleb Billy C. Clark The Total Light Process: New & Selected Poems James Baker Hall Famous People I Have Known Ed McClanahan Buffalo Dance: The Journey of York Frank X Walker JAMES BAKER HALL THE UNIVERSITY PRESS OF KENTUCKY Publication of this volume was made possible in part by a grant from the National Endowment for the Humanities. Copyright © 2004 by James Baker Hall The University Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University.
    [Show full text]
  • November 10-16, 2019 Kyhumanities.Org
    November 10-16, 2019 kyhumanities.org KENTUCKY HUMANITIES WELCOME t is my pleasure to welcome you to the Kentucky Book Festival! Kentucky Humanities is honored to bring the Kentucky Book Festival to the citizens of the Commonwealth. We have a wide variety of events planned throughout the week—something Ifor readers of all ages. You can find the week’s schedule in this catalog on page 6 or on our website, kyhumanities.org. Be sure to check out: the KBF Kickoff; the Literary Luncheon; Look & See; Cocktails & Conversation; Books & Brews Trivia; Commerce Lexington Spotlight; and, of course, the Kentucky Book Festival’s anchor event, the 38th annual Kentucky Book Fair. This year’s fair features 200 national and regional authors signing books and meeting patrons. Two stages will host panel discussions and author presentations throughout the day. You can find the Kentucky Book Fair schedule on pages 12 and 13 and the list of authors attending the fair on pages 18-51. Finally, I would like to take this opportunity to thank our many sponsors, partners, and supporters who helped make the Kentucky Book Festival possible: the Kosair Charities Face It® Movement; Lindsey Wilson College; Spalding University; the Elsa Heisel Sule Foundation; the Honorable Order of Kentucky Colonels; the Raymond B. Preston Family Foundation; the University of Kentucky; UK HealthCare; the Snowy Owl Foundation, Inc.; Joseph-Beth Booksellers; Eastern Kentucky University; LEX18; WEKU; Northern Kentucky University; Central Bank; Campbellsville University; Stites & Harbison; University of Pikeville; Transylvania University; Centre College; Bryant’s Rent-All; Lexington History Museum; Lexington-Fayette Urban County Government; Commerce Lexington; VisitLex; Wildcat Moving; Rory Harris; Kentucky Monthly; LexArts; Community Trust Bank; The Berry Center; The Mane on Main; the Kentucky Horse Park; the Carnegie Center; West Sixth Brewing; and the University Press of Kentucky.
    [Show full text]
  • The Integrity of the Image
    world press photo Report THE INTEGRITY OF THE IMAGE Current practices and accepted standards relating to the manipulation of still images in photojournalism and documentary photography A World Press Photo Research Project By Dr David Campbell November 2014 Published by the World Press Photo Academy Contents Executive Summary 2 8 Detecting Manipulation 14 1 Introduction 3 9 Verification 16 2 Methodology 4 10 Conclusion 18 3 Meaning of Manipulation 5 Appendix I: Research Questions 19 4 History of Manipulation 6 Appendix II: Resources: Formal Statements on Photographic Manipulation 19 5 Impact of Digital Revolution 7 About the Author 20 6 Accepted Standards and Current Practices 10 About World Press Photo 20 7 Grey Area of Processing 12 world press photo 1 | The Integrity of the Image – David Campbell/World Press Photo Executive Summary 1 The World Press Photo research project on “The Integrity of the 6 What constitutes a “minor” versus an “excessive” change is necessarily Image” was commissioned in June 2014 in order to assess what current interpretative. Respondents say that judgment is on a case-by-case basis, practice and accepted standards relating to the manipulation of still and suggest that there will never be a clear line demarcating these concepts. images in photojournalism and documentary photography are world- wide. 7 We are now in an era of computational photography, where most cameras capture data rather than images. This means that there is no 2 The research is based on a survey of 45 industry professionals from original image, and that all images require processing to exist. 15 countries, conducted using both semi-structured personal interviews and email correspondence, and supplemented with secondary research of online and library resources.
    [Show full text]
  • Sylvia Plath: a Split in the Mirror
    1 Sylvia Plath: A Split in the Mirror I sit… Composed in Grecian tunic and psyche-knot, Rooted to your black look, the play turned tragic: Which such blight wrought on our bankrupt estate, What ceremony of words can patch the havoc? Conversation Among the Ruins by Sylvia Plath Sylvia Plath's writing depicts the anguish of an unresolved and ambivalent attachment with her father. Her poetry, dreams and journal writings reveal the complexities of this relationship, its unconscious strands and blurred boundaries. Through the example of this poetess who killed herself at the age of thirty, I aim to show the complex interactions between daughters and fathers and the line between creativity and destruction. The death of Sylvia Plath’s father at age eight was a decisive experience shaping her life, an aspect drawing her towards death and representing the profound deprivation of this significant parental figure. She wrote in the poem, ‘Daddy’, “I was ten when they buried you. At twenty I tried to die and get back, back, back to you.” Sylvia Plath's words reverberate with paradox, graphically detailing extreme aspects of the distress of a daughter due to traumatic loss of her father. From the psychological destruction of this loss, she creatively wrote about its individual and collective proportions. She addresses the symptoms of our era—the media hype of women, technology and culture--all signifying spiritual, psychological and cultural lack. The passion fostering her creativity, however, is connected to a crushing father complex affecting her attempts to transform in life that fought those uniting with her father in death.
    [Show full text]